There’s hope for classical theater

CHARLES McNULTY’s article on why the Brits continue to dominate major acting awards is heartening for those of us here in L.A. committed to classical theater [“Advantage, Britain,” Feb. 18]. The Antaeus Company founded by actor-writer-Shakespeare scholar Dakin Matthews has at the core of its mission a training program in the classics, where seasoned professional actors and directors pass down their accumulated wisdom, skills and technique to the next generation.

When they come to us, many of our young actors (often already on the path to careers in film and television) have never seen a professional production of Shakespeare or Chekhov, let alone acted in one. This alone is scary for the future of American acting -- especially since New York is no longer the first place where young actors land to make their way. Companies like A Noise Within, Pacific Resident Theatre and Antaeus give actors a creative home to return to from the “tedium” of realism where we make our living. In our arenas, an entirely different set of creative values are instilled and nurtured. But to succeed, these values need to be reflected in our community.

We need the entertainment industry to lend its muscle: Each and every studio could back a season of classical theater in one of our venues. We need the Los Angeles Times to give us more than three paragraphs in a section where advice columnists get better placement than reviews of classical plays. And we need writers like McNulty to continue to remind Hollywood that humanity, not hype, makes for award-winning performances.

JEANIE HACKETT AND JOHN APICELLA

North Hollywood

Hackett and Apicella are co-artistic directors of the Antaeus Company.

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I enjoyed your literate, lively and illuminating reflections on the art and substance of British actors, and your careful and witty analysis of their differently gifted American counterparts. I seldom read the paper anymore, but your essay was as crisp, sparkling and refreshing as a jar of cold Champagne.

EMORY HOLMES II

Pacoima

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AN astute analysis of why the British are so damn good. So many American actors play the profession of the character rather than the inner life.

They see “detective or lawyer” and automatically create a stereotype, a consensus of how those people act rather than a person who happens to have one of those professions.

In other words, what they do is not who they are. Again, my congratulations!

IAN BERNARD

Santa Ynez